
Class ~ILAA2J 

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COPYRIGHT DEPOSIK 



The 

Decorator 

Up-to-date 

Price 75 Cents Per Copy 




Published by 

JAS J. FITZ GIBBONS and CHAS. H. KOENITZER 

228 Wabash Avenue 

CHICAGO 



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COPYRIGHTED 

FiTZ GIBBONS & KOENITZER 
1915 



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M. A. DONOHUE3 & CO. 
PRINTERS, BINDERS, 
PUBLISHERS, CHICAGO 




©CI.A395175 





CONTENTS 



PAGE 



shes — To clean and preserve 17 

ishes or Tools — To clean and wash out 16 

lors — Compound, to Mix 30 

Contrasting, that look well together 27 

That should not be used together 27 

Harmonious contrasts and colors that com- 
bine by law 28 

Effect of artificial light on colors 29 

Best suited for Art Galleries regardless of 

woodwork 36 

Best suited for Bric-a-brac 16 

Best suited for Jewelry stores regardless of 

woodwork 36 

Best suited for Millinery stores regardless of 

woodwork 36 

For striping, to make 19 

Best suited for the different woodwork in a 

house regardless of hght and exposure 31 

Best suited for Birchwood... 31 

Best suited for Birds-eye Maple.. 31 

Cherry 32 

Ebony 32 

Georgia pine 32 

Gray 32 

Ivory (old) 33 

Mahogany 33 

Mahogany and white trim 33 

Oak (Antique finish) 33 

"■ " Oak (Bog finish) 33 

" " Oak (Flemish finish) 34 

'' " Oak (Fumed finish) 34 

" " Oak (Golden finish) 34 

" " Oak (Light finish) 34 

" " Oak (Old English finish). 34 

" '' Oak (Red). 35 

" '' '' Red Cedar 35 



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PAGE 

Best suited for Walnut. — - 35 

'' '' White enamel.. 35 

Color Schemes best suited for the different rooms 

with the different exposure 36 

Bed Room (the) ..-.. 60 

Colors for Bed Room (north exposure) 60 

'' '' '^ " (south exposure) 61 

" " ^' '' (east exposure) ,... 62 

" " '' '* (west exposure 63 

Billiard Room (the).. ....- 52 

Colors for BilUard Room (north exposure).... 52 

" '' " '' (south exposure) 53 

*' *' " " (east exposure) 54 

'' " *' " (west exposure) 55 

Den (the) or Smoking Room 56 

Colors for Den (north exposure) 56 

'' '' '' (south exposure). 57 

'' '' '' (east exposure) 58 

'' '' '' (west exposure). 59 

Dining Room (the). 45 

Colors for Dining Room (north exposure) . 45 

(south exposure) 45 

(east exposure) 46 

(west exposure) 47 

Hall (the)...- 37 

Colors for Hall (north exposure).. 37 

" " '' (south exposure) 37 

'* '' '' (east exposure).-... 38 

" '* '^ (west exposure) 39 

Library or Study 48 

Colors for Library or Study (north exposure) 48 

'' '" " " (south exposure). 49 

" (east exposure) 50 

" " " " " (west exposure) 51 

Parlor and Living Room 40 

Colors for Parlor or Living Room (north exposure) . 40 

" '' " " " " (south exposure).. 41 

" " " '' " '' (east exposure).... 42 

'' " " " " " (west exposure) 43 



{t ii a a 

(I II (( a 



'olors best suited for the front of a wall paper store 14 

)efinitions 29 

)esigns.-.- ...: 15 

]namel (to apply) 26 

pnameled woodwork (to clean) 17 

riller (to make thin).. 17 

loors (to fill) 18 

lold lettering on glass (to remove) 18 

rood things to remember 15 

Hue (liquid) to make 22 

langing Paper 64 

'' Brown blanks 65 

Fabrics (all cloth or imitation of woven 

effects) 66 

" Flock paper 66 

Gold or bronze papers 66 

'' Lincrusta or Lin-0-Wall over boards 21 

" Lin-0-Wall or Lincrusta on new walls 8 

! " Lincrusta or Lin-0-Wall on painted walls 21 

" Lin-0-Wall or Lincrusta, to paste...... 64 

Plain goods, Duplex, Oatmeals, Ingrains, 

Pulp Tints, etc 26 

Paper over rough sand walls. 23 

" Oil cloth or Sanitas 66 

Pressed and pressed embossed papers 67 

*' Silk damask and glimmers 67 

" Stained grounded papers 67 

White blanks-. 67 

[ouse Painting 12 

ron Pipes (to tint) 18 

ron Work (to paint) _. 18 

fotes by the Author 8 

*ld Goods (show them first) 13 

aint (to mix) 17 

" (to make flat white) 17 

^' (to make thin). 17 

" (to paint Burlap) 17 

" (to paint Lincrusta or Lin-0-Wall) 26 



Paste (to make) 64 

" (to overcome unpleasant odor in) 64 

" Damp-proof for hanging Lincrusta or Lin-0- 

Wall 65 

Pearlash (to make) 20 

Pictures (to hang) 16 

Picture frames (best background for)... 16 

Pricing goods (to make certain percentage) 10 

Quantity of paint required for a house.. 13 

'' of paper required for a room..... 14 

Reconstruction 14 

Shellac (to remove from wood) 24 

'' (to make thin) 19 

Shingles (to retint or paint) 19 

Show window (the) 14 

Size, to make for hanging Lin-0-Wall or Lincrusta 

Walton....... 21 

Size, to make for hanging Lincrusta or Lin-0-Wall 

on a painted wall- 21 

Size, to make for sign writing..... 20 

" " ^' " varnishing wall paper 20 

" '' " " hanging wall paper 20 

Size, for walls (to make thin) _. 17 

Stains in paper (to avoid) 16 

'' " plaster to treat before calcimining 24 

" " plaster to treat before hanging paper 24 

" from water to eliminate from Lincrusta or 

Lin-0-Wall 25 

Stencil (to clean) 18 

" in oil 25 

'' in water color 25 

Store (the) ...._ 13 

Tinting over bad walls 26 

Varnish (to make dull)..... 19 

(to make thin) 19 

*' (to remove from glass). 19 

" (to remove from wood) 19 



^alls, Calcimined walls to prepare before hanging 

paper. 23 

" That are painted to prepare for hanging paper 23 

" Sand walls to prepare for hanging paper 23 

" To prepare for repapering 23 

" Suction in (to prevent) 23 

7ax, On floors to brighten 22 

*' To remove from wood 22 

iT'hitewash (how to make and apply) 24 

.Window shades (to clean) 26 

7ood, Bar Counter (to finish) 25 

^ood (new) to finish in China gloss 26 

that has too many coats 25 

that is damp 26 

to enamel in white... 24 

Georgia pine to finish 24 

with knots (to prepare before painting). 24 

to stain in Mission 25 

to re-varnish 19 

to finish in water stained effect 25 



PREFACE 

In placing this little book before the decorator the 
writer is giving him the benefit of knowledge gained 
from years of practical experience, careful observation, 
and close study. 

From the many inquiries which he has received 
from decorators all over the country on almost every 
subject treated herein, he feels that a need exists for 
a simple guide to those engaged in this most interesting 
class of work. 

That there is unlimited scope for improvement both 
as to the correct expression of ideas, and the manner 
of doing the work, every ambitious decorator will admit, 
and to him the useful character of this small volume 
will appeal. 

Yours very truly, 

C. H. KOENITZER. 



NOTES BY THE AUTHOR 

The expert decorator relies for success on his power 
to reason and diagnose the case as it occurs, and treats 
it accordingly. 

The decorator is the man behind the gun, and good 
judgment is the best medicine he can use. 

Don't let your paper-hangers or painters work with 
soiled hands. 

Don't let them wear soiled overalls. Always have 
them look neat and clean when working in a residence. 
Your customer will have more confidence in your estab- 
lishment if your men look neat and clean. 

Don't let your paper-hanger hang a paper over size 
or lining paper until they are thoroughly dry, or the 
paper may be full of blisters or wrinkles, or may burn 
out. 

Don't let your paper-hangers hang, trim, or cut 
up any paper without first examining paper to see if 
he has the right one, and then see if it is all one shade. 

If the paper-hanger thinks a paper is damaged, he 
should STOP hanging same, and report to his employer, 
or get a new lot of paper. 

Always paste paper from middle to end, and from 
end to middle. This will give the paper the same ten- 
sion all over, and prevent it from stretching, and thus 
avoid mismatching. 

Don't hang Lin-0-Wall, Lincrusta, Pressed Paper, 
or any heavy material on new walls when plaster is not 
thoroughly dry, or they will pull off the putty coat. 

Don't use rye flour to make paste, as it is apt to get 
sour and create an acid, which will stain the paper. 
Use winter wheat flour. 

If after hanging a paper with patent paste the paper 
stains, try paste made from good winter wheat flour, 
as some of the patent pastes contain strong preserva- 
tives to keep from getting sour. Paste made from com- 
mon flour is the best, and needs no doctoring. 



Stains or spots are sometimes caused from sour 
paste, thin paste, or paste thinned with water contain- 
ing lime, or walls containing alkali. Stains sometimes 
appear from hanging over real old paper. 

Don't paste a paper so that paste gets on the strips 
lying underneath, as the strips underneath become 
paste soaked, and are very apt to shade, and the paper 
is liable to stretch on this particular edge so that the 
pattern will not match. 

Don't use thin paste on Lincrusta-Walton, Lin-0- 
Wall, Pressed Papers, or any heavy wall hangings, or 
they will come off, but use thick, stiff paste. 

Don't use a roller on any relief papers which are not 
solid, such as Pressed Papers, or you will press out the 
relief. 

Don't use Alum or other chemicals in paste when 
hanging silk damask or stained grounded papers, or 
they may stain. 

Don't allow stained grounded papers to soak too 
long, or they will stain. Paste only one strip, then 
hang at once. Avoid using a roller on seams if possible. 

Don't use a smoothing brush on pulp tints, flock 
papers, or any papers which appear to have a soft 
ground. Use a felt roller. 

Don't crease the following papers in trimming, as 
it will make a break on the face of the paper which can- 
not be eliminated: 

Flocks 

Wood Fibre or Oat-Meal Paper 

Lin-0-Wall 

Lincrusta 

Japanese Leathers 

Tekko 

Metal Grounded Papers 
or any other papers printed on heavy material which 
have a tendency to crack. 

Never give anyone a figure or accept a contract 



unless you get enough money to make a good profit. 
Nobody ever accumulated wealth by trading dollars. 
Always do first-class work, and use the best mate- 
rials, as every good job brings another. 

Pricing Goods — 

To make a profit of 16 2-3%, add 20% to cost. 
To make a profit of 20 %, add 25% to cost. 
To make a profit of 25 %, add 33 1-3% to cost. 
To make a profit of 33 1-3%, add 50% to cost. 
To make a profit of 50 %, add 100% to cost. 

Be a good collector. Always remember that the 
sooner you lose a customer who does not take care of 
his indebtedness, the better. They will break you. 

Always pay the bills contracted with your whole- 
sale house promptly, or when due, as nothing will in- 
sure an open credit account so much as when you take 
care of your indebtedness. 

Don't paint, varnish, shellac or calcimine over 
Lincrusta, Lin-0-Wall, Burlap or Canvas until paste 
underneath is thoroughly dry, or the above materials 
will blister or may come loose, as the foregoing treat- 
ment will close the pores of these materials. 

Never hang materials of any kind on walls that have 
been tinted or calcimined without fin c washing off 
walls, then treat with a coat of priming paint or glue 
size, unless you are sure the walls are in the proper 
condition to omit the above treatment. 

For Pressed Paper, Lincrusta, or any of the heavy 
materials be sure and line walls after giving the walls 
the proper treatment. 

WINDOW WASHING 

Windows can be cleaned in half the time if dena- 
tured alcohol is used instead of water with soap, am- 
monia or kerosene, and will make the glass brilHant 

10 



and leave a polish. It also keeps the glass free from 
frost in cold weather which is quite an advantage if 
used as a show window. One-half pint should clean 
both sides of the show window^ 

IMPORTANT 

It is well for the decorator to remember the follow- 
ing remarks and use them to the best advantage when- 
ever certain effects are desired: 

Dead colors make a room look larger. 

Bright, strong colors make a room appear smaller. 

Small figures make a room look larger. 

Large figures make a room appear smaller. 

Stripes make a room look higher. 

Ceiling paper or plain tint brought down on the 
wall makes a room look lower. 

Plain papers make a room appear larger, and make 
the best background for pictures. 

Foliage or forest papers give depth to rooms, and 
make them appear larger, and are pecuHarly 
well adapted for halls or dining rooms, as they 
usually contain colors which make a splendid 
basis from which to select colors for adjoining 
rooms. 

Panel effects make rooms appear smaller. 

Mouldings always look best when placed at the top 
of the room near the angle of the ceilings, or 
when placed even with the top of door casing. 



HOUSE PAINTING 

In painting a house, especially if the house in ques- 
tion is within fifty feet of another house, the decorator 
should use as much care to suggest some color which 
will not conflict or jar with the color of the adjoining 
house as if he were decorating the interior rooms. It 
is frequently the case that no matter how becoming 
and well the color fits the house you have painted, in 
observing the house from a distance of fifty or a hun- 
dred feet, you or your client may be disappointed in the 
effect; right here, if you are sure you have used the 
proper trim you may know that the color effect of the 
neighboring house is the trouble maker. 

The color effect on the different houses in a certain 
block has all to do with the appearance of a neighbor- 
hood. It is a pleasure to go through a suburb where 
the decorators have taken this precaution, and note 
the beautiful effect together with the foliage and trees, 
whether the houses are costly or inexpensive. Refer 
to the following pages: Contrasting colors that look 
well together, Colors that should not be used together, 
and Harmonious contrasts and colors that combine by 
law, all on page 25. In following these tables you are 
sure to be successful. 

Painting House — On light cement or stucco use white 

for trim and stain shingles green. 
On dark cement use seal brown, brewster or bottle 

green for trim and stain shingles green with white 

window sash. 
When main body is stained red over rough boards 

trim should be stained bottle green, seal brown or 

white with shingles stained green. 
Frame house painted yellow looks well with white 

trim. 
Gray body use white trim. 
Tan body use seal brown trim, etc., etc. 

12 



Quantity of Paint Required for a House. 

One Gallon of Paint covers 250 square feet. 

For example, suppose your house was 20x30 and 20 
feet high; by measuring all around the house you will 
have two sides 20 feet long and two sides 30 feet long. 

^ ^ Front 20 feet i ^ :jj' 

B , J Side 30 '' \^g 

S^fRear 20 '' )ag 

O ^ V Other Side 30 '' < S v^ 

B pn \ Total 100 feet I^S- 

O^ 1 Multiplying this by height. 20 " V*^ ^ 

^ Total 2,000 feet 

Divide this by 250 and your answer is 8 gallons, 
and represents the number of gallons required for one 
coat. If two coats are required multiply 8x2 and your 
answer is 16 gallons of paint for two coats. 

THE STORE 

An up-to-date store should not display the usual 
fixtures or racks to hold the stock, but place a roll of 
each paper in a Cabinet; place a tag in each end. On 
one of these have the Factory Name, the cost, and the 
year it was bought. On the other, have the selling 
price and the number of the till in which the stock is 
kept. This will give you a nice display room, also 
saving the usual trouble of climbing up and down a 
ladder. 

Show Your Old Goods First. Don't be backward 
in showing goods left over from previous years. Your 
customers don't know when you bought them. All 
papers look well when placed in the right room with 
the proper surroundings. It might be said that goods 
well and carefully bought grow better with age. 

13 



THE SHOW WINDOW 

Next to the newspaper advertisement, is the deco- 
rator's greatest advertising medium, and is generally 
accepted nowadays as the Store Keeper's Barometer 
of Prosperity, and is the Shopper's Guiding Star. The 
front of the vStore, or Show Window, should be painted 
in black, dark green, or a dark seal brown. Any of 
the foregoing colors would frame up the contents of a 
wall paper display window well. Great care should be 
taken to keep the window clean and trimmed each 
week with a snappy lot of papers or Eye Catchers. 
Frequently the public gets its impression of the decora- 
tor's ability from the display in his show window. 

RECONSTRUCTION 

Sometimes your customer is tired of the surround- 
ings of a certain room, but cannot explain to you just 
what is wanted or needed to make the change. It is 
up to the decorator! He can often make a complete 
change by adding a Picture Moulding, raising or low- 
ering it, or taking it down altogether, putting in a shelf 
or card rail, or by putting in a new gas or electric 
chandelier, or changing the color of the woodwork, or 
putting in a panel effect. It is easy to imagine what 
a complete change any of the above arrangements 
would make in a room, and how grateful your customer 
will feel when you have transformed an antiquated 
room into a modern room. 

HOW TO FIGURE THE QUANTITY OF PAPER 
REQUIRED FOR A ROOM 

Measure the length all around the room, and mul- 
tiply by the height from the top of the baseboard to 
the picture moulding. Deduct from this 20 sq. feet 
for each window and door; if a double door, allow 40 sq. 

14 



feet. This gives you the actual square feet to be cov- 
ered with paper; then divide by 32, which gives you the 
number of single rolls required to paper the room, allow- 
ing for waste. For instance, a room 12x14 ft. and 
9 ft. high, 2 windows and 1 door, equals 52 feet around. 
52 feet by 9 feet equals 468 square feet. From this 
deduct 3 openings 20 square feet each, or 60 feet. 468 
square feet less 60 feet equals 408 feet, divided by 32 
equals 13 rolls of paper required. If the paper is 36 
inches wide, it will take one-half of the quantity men- 
tioned above. If 30 inches wide and 8 yards long, it 
will take two- thirds of the quantity. 

All ordinary American papers are put up in double 
rolls 16 yards in length, with the exception of Pressed 
Papers, which are sometimes put up in single rolls 8 
yards in length. In order to reduce the possibility of 
misunderstandings, would recommend that the word 
BOLT be eliminated entirely, and always order by 
SINGLE rolls. A ROLL contains 8 yards, or 36 
square feet; A DOUBLE ROLL, or BOLT, contains 
16 yards, or 72 square feet. 

DESIGNS 

As the factories strive to bring out new creations 
each year, it will be impossible to give a detailed descrip- 
tion of the different drawings best fitted for the different 
rooms, and will have to be decided largely between the 
decorator and his patron, always taking into consider- 
ation the purpose of the room, size, height, amount of 
Hght, exposure, woodwork, and general furnishings. 

GOOD THINGS TO REMEMBER 

Each room in a house has a certain color and draw- 
ing which is pecuHarly well adapted according to its 
location in the home, its use, the furnishings, or whether 
its exposure be north, south, east, or west according to 
the Law of Color. 

15 



After talking with your customer regarding the 
surroundings in the room, you determine that a certain 
color is required. For instance, the room requires a 
pink ; the decorator will find that by first laying on the 
rack a contrasting color, such as gray, pale green, or 
pale blue, then laying beside it the pink, the sale is 
practically made, as the contrasting colors help the 
looks of the one you desire to sell. See colors that com- 
bine by law and harmonious contrasts. 

Always remember that ART AND COMFORT 
ARE NOT OPPOSED when the proper colorings and 
the correct drawings are used in the right place, with 
especial consideration of the artificial light, whether 
they be used with gas or electric light, or any other 
artificial light. 

In hanging a picture on the wall, always consider 
the light, and place the picture so that it gets the proper 
reflection. 

Gilt frames look best when placed over old blue, 
dull reds, or dull greens. 

BRIC-A-BRAC 

To display bric-a-brac, use old bkies, dull greens, 
or tapestry effects. 

STAINS IN PAPER 

Size should be thoroughly dry before papering, or 
stains may appear. Paper may even burn out, even 
if hung over lining paper, provided the paste or size 
under lining paper is not perfectly dry. For a good 
job, always insulate the wall with size or lining paper 
so that the wall does not come in contact with paper. 

BRUSHES 
Washing Out — Use Benzine. 

16 



To Preserve — To keep a paint brush from getting hard, 
put it in lard, and when read}^ to use wash out 
with turpentine, or soap and water. In this way, 
you can keep a brush in good condition for several 
years. 

PAINTING BURLAPS 

If you wish to make a cheap job of decorating plain 
burlaps, after hanging burlaps take a pail of paste, put 
the usual amount of glue in the paste, then throw in 
dry color to make desired color, and apply on burlaps 
thin, about the consistency of calcimine. 

ENAMELED WOODWORK— To Clean 

When soiled, rub with Linseed Oil and soft cloth, 
which eliminates the soil. 

FILLER 
To thin it — 

Use Raw Oil with Benzine. 

PAINT 

Flat White- 
Use Pure Lead and Turpentine. 

To Thin— 

For outside work use Oil. 
Inside work, 1-5 Turpentine. 

To Mix- 
Use Raw Oil for outside work if weather is reliable; 
it dries very slowly. 

WALL SIZE 
To Thin- 
Use Benzine. 

17 



FLOORS 
To Fill Cracks- 
Make a putty of Litharge and Silex, equal parts. 
Mix with Japan and a little Linseed Oil. This 
will dry as hard as stone; or use Dry White Lead 
mixed with Putty, which will also dry hard, and 
can be colored with a little Ochre, or buy a ready- 
made patent filler. 

To Fill Hardwood Floors— 

On Close Grained Wood, such as Maple, etc., use 
Shellac for filling. On Open Grained Wood, such 
as Oak, use Paste Filler. Rub across the grain. 

GOLD LETTERING 

To remove from glass, apply Wood Alcohol until 
lettering becomes loose; then wipe with a soft cloth. 

To Paint- IRON WORK 

Use Asphaltum. It dries quickly with gloss. 

IRON PIPES 

How to Prepare for Tinting — 

Apply with either Tar or Asphaltum. Give two 
coats of vShellac before tinting. 

To Clean- STENCIL 

When through using at night and you want to use 
again, take Stencil Brush and go over the stencil 
with Turpentine. Dry with soft cloth, being care- 
ful the cloth does not catch the edges of stencil. 

To Clean- TOOLS 

Wash out with soap and water, and wipe as dry 

18 



as possible. Put in a warm place. Never leave a 
brush stand in water too lon.s:, as the action of the 
water will swell the brush and the hairs will fall 

j out. 

j To Thin— SHELLAC 

Use Denatured Alcohol. 

STRIPING COLOR 
To Make Flat- 
Take color ground in Japan, and thin with Tur- 
I pentine. 

To Make Gloss— 

j Take color ground in oil; mix with good varnish 

I and a little Japan, thin with turps until it works 

well. 
I To Thin- VARNISH 

Never use Gasoline. You can use 62% Benzine, 
\ but Pure Turpentine is best. In mixing varnish 

I and turpentine, they should be put in separate 

I vessels and both placed in a large pan containing 

I hot water, so that they be kept at the same tem- 

perature. 

Dull Finish- 
Rub down with Rotten Stone mixed with Water. 

To Revarnish Woodwork — 

Wash oflE slightly, sand paper, and revarnish. 
If delicate woods, such as Bird's-eye Maple, Curly 
Birch, etc., are first treated with a coat of White 
Shellac, and varnished with White Varnish, the 
wood will not turn yellow, and remember that only 
clean brushes make a good job. 

To Remove from Wood — 

Use Ammonia, 60% pure, or buy a varnish remover. 

19 



To Remove from Glass — 

Wet with Alcohol and rub with soft cloth. Wash 
with hot solution of vSal Soda to one-half pint water. 

PEARLASH 
How to Make — 

Dissolve 8 ounces of Washing or Sal Soda in 4 
quarts of Water. Apply to all painted walls before 
sizing. 

SHINGLES 
That are Tinted- 
Can be painted, and can also be restaincd a darker 
color. 

SIZE 

How to Make for Hanging Paper — 

Soak one pound of Glue over night in cold water; 
then pour on 12 quarts of hot water; add a table- 
spoonful of powdered alum. 

Alum Size — 

Dissolve IJ/^ pounds Alum in Hot Water; use 
when warm. 

For Sign Writing — 

Use one part Raw Oil — 10 parts Japan. Mix with 
a little Whiting and Turpentine. When Tack is 
right, lay on the bronze with Camel Hair Brush. 
If Size dries too slowly add Gold Size ; if it dries too 
quickly add more oil. 

For Varnishing Papers — 

Use two-thirds Demar Varnish and one-third of 
any light varnish, or about one-fourth the strength 
of Calcimine Glue Size, or dissolve White Glue, 
about the same strength as for Calcimine, chill 
with ice so as to make it look like Gelatine. This 

20 



makes size work easier, and is less liable to rub 
color on paper. In putting on first coat, brush 
only one way; do not recross. Second coat, re- 
cross so as to be sure and cover. Have second 
coat a little stronger. 

Wall Size for Hanging Lincrusta or Lin-0-Wall — 

Take five pounds Plaster Paris, add two or three 
pounds Yellow Ochre, and mix with water to 
proper consistency. Then size wall same as with 
common sizing. When dry hang. Never hang 
on walls where plastering is not thoroughly dry, or 
it will pull off the putty coat unless you FIRST 
put on Lining Paper. 

Size for Lincrusta or Lin-0-Wall — 

Two pounds of brown sugar and water; let same 
come to a boil; then add three quarts glue size. 
Mix well together, and apply to walls. 

Lincrusta or Lin-0-Wall, to Hang on Muslin Over 
Boards — 

Size muslin well, and tack in the corner of room. 
Then mark space where the seam of Lincrusta will 
come, and place a row of tacks three-fourths of an 
inch each side of seam to prevent seams of Lin- 
crusta from opening. 
The above also applies to wall paper. 

Size for Lincrusta or Lin-0-Wall over a Painted Wall — 

Dissolve glue or brown sugar, and make into size. 
When thoroughly dissolved, add one-half pound 
washing soda dissolved in hot water; then apply 
to wall same as for sizing ordinary walls. It will 
be necessary to line walls with above treatment. 

Lincrusta or Lin-0-Wall to Hang on Painted Walls — 

Wash off with common washing soda, two pounds 

21 



to a gallon of hot water, and dissolve. Then wash 
off walls; then hang in usual manner WITHOUT 
lining walls. 

To Hang Lincrusta or Lin-0-Wall on New Walls — 

First size w^alls, glue size and brown sugar; then 
line walls with plain stock; then apply Lincrusta. 
Use thick paste, and put in 10c worth Venetian 
Turpentine. 

Glue (Liquid) How to Make — 

Dissolve common glue in three parts of Hot Vine- 
gar, then add Alcohol. Use Glue enough to make 
it work into a good working consistency. Add 
a little Alum, and keep in a bottle with a rubber 
stopper. 

Wax on Floors or Wood — To Brighten — 

To brighten wax on floor, rub floor with a sponge 
and cold milk. This will revive the polish. Then 
go all over floor with polishing brush. 

Wax — To Remove — 

Use Benzine, Gasoline, or Turpentine. Let it 
remain long enough to soak and soften wax; then 
use a scrubbing brush to remove same. 

WALLS 

Sand Walls— To do a Cheap Job- 
Rub down with a Steel Brush, or wrap Sandpaper 
around a wooden block. Sandpaper entire wall 
down; then brush off all loose sand grains; then 
give wall a heavy coat of size, or a thin coat of 
paste, and hang paper in the usual way. 

Papered Walls— To Repaper— 

Remove all old paper, or tear off all loose paper, 
and sandpaper down all old seams or edges. 

22 



Paper — To Hang Over Rough Sand Walls — to do a 
Good Job — 

Wrap sandpaper around a block of wood and go 
all over walls, then go all over walls with stiff brush 
which will remove all loose sand grains, then gi^^e 
walls a coat of glue size, than line walls with Lining 
Paper or Manilla Paper butting the seams; pound 
with stiff brush until firm to the wall, then hang 
paper and see that the seams of the paper do not 
come over seams of Lining Paper. 

Hanging— 

To hang Duplexes, Ingrains, Pulp, or Brush Tint, 
Oat Meals, etc., first treat walls with glue size, 
then hang paper in the usual way. 

Painted Walls— 

Always give coat of Pearlash; then size before 
hanging paper. 

Calcimined Walls — 

Wash or scrape off, cut all cracks to laths, fill with 
plaster, sandpaper down, and size; then hang the 
paper. 

Suction in Walls — To Prevent — 

Give Walls a coat of Alum Size. Dissolve one 
and one-half pounds Alum in hot water; use while 
warm; when dr}^, second coat of Glue Size; then 
Calcimine. 

Walls which Have Been Painted — 

Size with Sugar Size. Add one-fourth pound 
Brown Sugar to a little Glue Size, first dissolving 
sugar in hot water. 

CALCIMINED WALL 
To be Papered — 

Cheap Job — Glue Size over Calcimine ; then paper 
over it. 

?3 



Good Job — Wash off Calcimine. Glue Size and 
Line, then hang paper. 

In Plaster- STAINS 

Before Calcimining, use Shellac on spots or stains; 
or put a little Glycerine in the Calcimine, or use 
Regal first coater on stains, or paint with asphal- 
tum, then size. If fine paper, line walls before 
hanging. 

WHITEWASH 

A Rough Old Stone House, or a Large Building, or 
Long Fence such as a Race Track — 

Use one part Slacked Lime, three parts Whiting, 
and mix with skimmed milk until it works well; 
put on with Calcimine Brush or Spraying Machine. 
If Spraying Machine is used, strain the liquid so it 
will not clog the pumps. You can color the liquid 
with Venetian Red, Yellow Ochre, or the Umbers 
and Siennas. They all mix with Lime. 

Enameling- WOODWORK 

Give two coats of Flat White. One coat Zinc and 

one coat Enamel makes a good job. 

For a very good job, rub down and give another 

coat of Enamel; then rub slightly with pumice and 

oil. 

Knots in Wood — 

Shellac before Painting. 

Georgia Pine — 

To finish Natural Color, use Shellac for first coat. 

Shellac — To Remove from Wood- 
Use Anylacetate, Acetous, or Wood Alcohol and 
Fusel Oil. Have plenty of ventilation in room, 

24 



Oak Finish (Water Stain Effect)— 

Plane wood and sandpaper smooth ; apply Water 
Stain; then Wax. Melt Pure Good Beeswax, 
three pints Turpentine; consistency of mixture 
should be like cream. Apply with a brush and 
allow to set for half a day, if possible, twenty-four 
hours; rub with shoe shining brush until it shows 
a polish. 
For a Good Job, give two coats of Wax. 

Staining Wood in Mission — 

Among the many methods for staining wood, the 
following is the most practical, viz : Break up two 
pounds of Drop Black in Oil and one Ounce of Rose 
Pink in Oil, with a half pound of good Brown Japan, 
which is thinned with Three Pints of Turpentine. 
This will make a gallon of stain, which should be 
strained through a cheesecloth before using. 

Water Stains — To Eliminate on Lincrusta or Lin-0- 
Wall— 

Apph^ Alcohol or Liquid Veneer with a rag, which 
will take off white discoloration, and bring back 
original color. 

To Stencil with Oil- 
Put Banana Oil in the paint to make sticky, and 
keep from running. 

To Stencil with Water Color- 
Use a little Whiting to keep from running. 

WOOD 

, Too Many Coats of Paint — 

Remove with Paint Remover or Torch. 

Top of Bar Counter — 

On account of being wet so much, give old-f^sh- 

25 



ioned oil polish. If new counter, stain with oil 
stain to suit taste. Fill with colored paste, and 
when dry sandpaper; apply boiled Linseed Oil 
with brush; rub off immediately; then let stand a 
week. Rub until satisfactory polish is obtained. 

New Wood, China Gloss — 

Give coat of White Shellac and sandpaper well; 
then coat with White Lead — one-half boiled oil, 
one-half Turpentine; sandpaper well. Second coat, 
White Lead Flat; sandpaper smooth. Third coat 
all Zinc, adding a little Demar Varnish. Fourth 
coat, Zinc and Demar Varnish flowed on. 

Damp Wood — 

Never Shellac or Paint until wood is thoroughly 
dry. 

White Enamel — 

For a fair job, cut up White Lead and Turpentine; 

give wood two coats of Flat White, and one coat 

Enamel. 

For a good job, give three coats of Flat White, 

and three coats of Enamel; then rub down. 

To Clean- WINDOW SHADES 

First clean with wall-paper cleaner, then wash 
with a solution of one part Ammonia and two parts 
Water. 

Tinting over Bad Walls — 

Size walls and hang with Lining Paper having 
feather-edge seams ; when perfectly dry sandpaper 
seams of Lining Paper, then tint the wall in the 
usual way. 

Lincrusta or Lin-O-Wall — To Paint — 

As the body of these materials contains much oil, 

26 



it takes the paste underneath about thirty-six 
hours to dry, and if they were to be treated with 
Paint, Varnish or Shellac before the paste is thor- 
oughly dry, the result would be that the Lincrusta 
or Lin-0-Wall would be covered with blisters 
which would not dry out, as Paint, etc., have a 
tendency to close the pores of these materials, 
and without air it is doubtful if the paste would 
ever dry; it would probably create an acid and 
turn sour and lose its adhesive powers, and the 
result would be that the Lincrusta would come 
loose. 

It would be advisable to wait from thirty-six to 
forty-eight hours before painting over these ma- 
terials. 

COLORS 

Colors which should never be used together, or in 
adjoining rooms where the rooms are divided by an 
Arch, or where the doors between the rooms are left 
open a great deal. 

Red and Yellow. 

Yellow and Blue. 

Blue and Red. 

Yellow and Violet. 

Violet and Blue. 

Orange and Yellow or Green. 

Violet and Orange. 

CONTRASTING COLORS 
(That Look Well Together) 

To Blue is Orange. 
To Citron is Purple Blue. 
To Green is Red. 
To Olive is Orange. 
To Orange is Blue 

27 



To Purple is Yellow. 

To Red is Green. 

To Russet or Red Purple 

Green. 
To Yellow is Green. 



is Yellowish 



COLORS THAT COMBINE BY LAW AND HAR- 
MONIOUS CONTRASTS 



Blue, Bright 


with Chocolate. 


Blue, Deep 


with Golden Brown, Pink, 




or Maroon. 


Buff 


with Violet, Yellow, Straw, or 




Claret. 


Chocolate 


with Bright Blue. 


Citron 


with Purple, Violet or Lav- 




ender. 


Claret 


with Buff. 


Golden Brown with Deep Blue. 


Gray 


with Orange, Pink, Lavender, 




or Brown. 


Green, Olive 


with Red, Russet, Maroon, 




or Chocolate. 


Green, Warm 


with Maroon. 


Lavender 


with Warm Gray , or Pale 




Green. 


Maroon 


with Warm Green, or Deep 




Blue. 


Old Rose 


with Green. 


Orange 


with Blue or Gray. 


Pink 


with Golden Brown, Pale Blue, 




Pale Green, or Gray. 


Purple 


with Green or Citron. 


Red 


with Green. 


Red 


with Green, Olive or Brown. 


Red, Deep 


with Gray. 


Russet 


with Green or Olive. 


Straw 


with Violet. 



28 



Terra Cotta with Blue. 

Violet with Yellow, Straw Color, or 

Buff. 
Yellow with Purple, Lavender, or 

Violet. 

ARTIFICIAL LIGHT 



Effect on Different Colors: 



Blues, 


Generally Dull 


Azure, 


Gray. 


Cadet, 


Soft. 


Peacock, 


Soft. 


Old, 


Soft. 


Robin's Egg, 


Gray. 


Brown, 


Soft. 


Buff, 


No Change. 


Claret, 


Soft. 


Gray, 


Soft. 


Greens, 


Soft. 


Lavender, 


Not Good. 


Maroons, 


Soft. 


Pink, 


Not Good. 


Purple, 


Not Good. 


Reds, 


No Change. 


Rose, 


Not Good. 


Salmon, 


Not Good. 


Terra Cotta, 


Soft. 


Violet, 


No Change. 


Yellow, 


Soft. 



Definitions — 

TINTS— Are Colors lightened by White. 
SHADES— Are Colors darkened by Black. 
TONE— PrevaiHng color. 
Red, Blue, and Yellow are Primary Colors, and 

by mixing any two together, we obtain secondary 

colors. 



(How to Mix) Compound Colors — 

ASHES OF ROSES— Add Lead to Lake and White. 

BROWN— Mix Black and Red. 

BROWN, CHESTNUT— Add White to Brown. 

BUFF— Add Yellow Ochre to White. 

CHOCOLATE— Add Yellow Ochre to Brown. 

CITRON— Mix Purple and Orange. 

CREAM, LIGHT— Add Red and Yellow to White, 

oi mix White and Yellow. 
FLESH— Add Carmine to Straw Color. 
GREEN— Mix Blue and Yellow. 

" BLUE— Mix Purple and Green. 

BRIGHT— Add Paris Green to White. 
BRILLIANT— Add Emerald Green to 

White. 
DARK— Add Black to Chrome Yellow. 
OLIVE— Mix Chrome Yellow, Red, Blue 

and Black. 
PEA— Add Chrome Green to White. 
To mix good shade for white woodwork, use Green 

and Chrome Yellow. 
GRAY, DRAB— Add Umber to White. 

'' FRENCH— Add Purple and Black to 

White. 
" SILVER— Add Lamp Black and Indigo to 
White. 
LEAD— Add Lamp Black to White. 
ORANGE — Mix Yellow and Red, or mix Vermil- 
lion to Chrome Yellow. 
PEARL— Add Blue to Lead Color. 
PINK— Add Lake to White. 
PURPLE— Add Red to Light Blue. 
PURPLE, RED or CITRON— Mix Purple and 

Orange. 
ROSE— Add Carmine or Lake to White. 
SALMON— Add Red, Umber, and Yellow to 

White. 
STRAW— Add Chrome Yellow to White Lead. 



30 



fl 



WHITE, PEARL— Add Purple and Blue to White. 
FRENCH— Add Purple to White. 

WOOD— Add Raw Umber to White. 

GOLD— Add Yellow to Brown. 

MAUVE— Add Blue to Brown. 

RED, CALCIMINE— To mix for White Enamel 
woodwork use two-thirds Turkey Red and one- 
third Lake. 

THE BEST COLORS WITH THE DIFFERENT 
WOODWORK IN A HOUSE 

Birch Wood in Natural Finish — 

USE— Tan. 
Blues. 
Greens. 
Warm Grays. 
Lavender. 
Pink. 
Purple. 
Old Rose. 
Rose Pink. 
Salmon. 
Yellow or Tan. 

Floral Papers with White Background. 
Violet Papers with White Background. 

Birds-eye Maple — 

USE— DeHcate Shades of Blue. 
Delicate Shades of Green. 
Gray. 
Lavender. 
Pink. 
Purple. 
Rose, Old. 
Rose, Pink. 
Salmon. 

31 



Cherry — 

USE— Blues. 
Browns. 
Buffs. 

Greens, Soft. 
Warm Grays. 
Straw Color. 
Yellow. 
Tan. 

Ebony Woodwork — 

USE — Brown, Tobacco. 
Brown, Golden. 
Brown, Seal. 
Burnt Orange. 
Yellow. 
Green. 
Red. 

Old Blue. 
Steel Blue. 
Tan. 

Georgia Pine — 

USE— Cream. 

Light Tan. 
Buffs. 

Pale Greens. 
Pale Blues. 

Gray Woodwork — 

USE— Pink. 

Rose, Old. 

Rose, Pink. 

Orange. 

Lavender. 

Brown. 

Du Barry. 

Ashes of Roses. 

32 



Floral Papers with Pink, Yellow, or Violet. 
Flowers on White ground. 

Old Ivory Woodwork — 

USE— Gold. 

Champagne Color. 
French Gray. 

Mahogany — 

USE— Blues, Dull. 
Browns. 

Grays, Wann (Putty Color). 
Greens, Dull. 
Yellow. 
Drab. 

Mahogany and White Trim — 

USE— Blues, Dull. 
Browns. 
Grays. 
Greens. 
Yellow. 
Putty Color. 

Oak, Antique — 

USE— Blues. 
Browns. 
Greens. 
Pale Yellow. 
Putty Color. 
French Gray. 
Foliage or Forest Papers. 

Oak, Bog— 

USE — Greens. 
Browns. 
Blues. 
Warm Gray, (Putty Color.) 

33 



Pale Yellows. 
Lilac Color. 

Oak, Old English— 

USE— Greens. 
Yellows. 
Dull Reds. 
Browns. 
Dull Blues. 
Warm Grays, (Putty Color.) 

Oak, Flemish — 

USE— Red. 

Yellow. 

Burnt Orange. 

Golden Brown. 

Greens. 

Old Blue. 

Delft Blue. 

Gray, (Putty Color.) 

Oak, Fumed — 

USE— Dull Reds. 

Golden Yellow. 

Tan. 

Brown. 

Empire Green. 

Old Blue. 

Warm Gray, (Putty Color.) 

Oak, Golden — 

USE— Brown. 
Tan. 
Buff. 
Blue. 
Green. 

Oak, Light— 

USE— Tans. 

34 



Pale Yellow. 
Buffs. 
Blue. 
Green. 

Oak, Red— 

USE— Brown. 
Tan. 
Blue. 
Green. 

Red Cedar— 

USE— Brown. 
Tan. 
Blue. 
Green. 

Walnut— 

USE— Dull Reds. 
Yellows. 
Dull Greens. 
Dull Blues. 

White Enamel — 

USE— Maroons. 
Reds. 
Yellow. 
Old Rose. 
Pink. 
Lavender. 
Salmon. 
Brown. 
Blue. 
Gray. 
Green. 



35 



COLOR SCHEMES 

Warm Colors are those which appear to contain 
Red. 

Cold Colors are those which appear to contain Blue. 

In rooms with North or East exposure, use warm, 
strong colors. 

In rooms with South or West exposure, use cool 
colors. 

The rugs, furniture, woodwork, and exposure always 
determine the colors best suited for the different rooms. 

In Art Galleries, use Dull Reds, or Dull Greens. 

For Jewelry Stores, use medium shades of Blue or 
Sage Green. 

For Millinery Stores, use Sage Green, Gray, or 
French Gray. 

CEILINGS 

It is impossible to give any definite arrangement 
for treating ceilings. They may be tinted or may be 
covered with paper. For cheap jobs use moire or any 
of th'e small figures, which are to be found in numerous 
varieties. For good work use pulp tints or any of the 
better grades of ceiling papers. 

THE HALL 

The Hall is the Index to the Home, or like the Hero 
in a book, it is the center of attraction, and is the first 
introduction the visitors have to the house, and should 
be treated in warm, cheerful colors; so far as it is pos- 
sible. Reds, Yellows, Browns, or Forest Papers. The 
foregoing colors are also peculiarly well adapted for a 
basis to work from for color schemes for the balance of 
the rooms down stairs, and especially where the Hall 
is situated between two rooms, for instance, Parlor and 
Dining Room. 



HALL, NORTH EXPOSURE 

With Birch Wood— Use Tan, Light Yellows, Salmon, 

or Old Rose Shades. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Orange, Brown, or Old Rose. 
With Ivory, Old — Use Gold, or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns or Yellows. 
With Oak, Antique — Use Brown, Tan, or Pale Yellow. 
With Oak, Bog — Use Browns, Pale Yellows, or Lilac 

Color. 
With Oak, Old English— Use Browns, Dull Red, or 

Yellow. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown. 
I With Oak, Fumed— Use Dull Red, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Pale Yellows or Buffs. 
With Oak, Red — Use Brown or Tan. 
jWith Red Cedar — Use Brown or Tan. 
iWith Walnut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 

Rose, Salmon, Lavender, or Brown. 

HALL, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays (Putty 

Color), or Tans. 
With Birds-eye Maple— Use Robin's Egg Blue, Nile 

Green, or Gray. 

37 



With Cherry — Use Blues, Soft Greens, or Warm Grays. 

With Ebony— Use Steel Blue, Old Blue, or Green. 

With Georgia Pine — Use Pale Greens or Pale Blues. 

With Gray — Use Rose, Pink, or Lavender. 

With Ivory, Old — Use French Gray. 

With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, French Gray. 
With Oak, Bog — Use Blues, Greens, Wann Grays, or 

Putty Color. 
With Oak, EngUsh— Use Green, Old Blue, Warm Gray, 

or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Grav. 
With Oak, Golden— Use Blue or Green. 
With Oak, Light — Use Blue or Green. 
With Oak, Red- -Use Blue or Green. 
With Red Cedar — Use Blue or Green. 
With Walnut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

HALL, EAST EXPOSURE 

With Birch— Use Pale Yellow, Salmon, Rose Pink, Old 

Rose, Lavender, or Tan. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades . 

?8 



With Gray — Use Orange, Brown, or Old Rose. 

With Ivory, Old — Use Gold or Champagne Color. 

With Mahogany — Use Browns or Yellows. 

With Mahogany and White — Use Browns, Pale Yel- 
lows, or Tan. 

With Oak, Antique — Use Brown, Tan or Yellow. 

With Oak, Bog — Use Brown, Pale Yellow, or Lilac 
Color. 

With Oak, Old EngUsh— Use Brown, Dull Reds, or 
Yellow. 

With Oak, Flemish — Use Red, Yellow, Burnt Orange, 
or Golden Brown. 

With Oak, Fumed— Use Dull Red, Golden Yellow, 
Tan, or Brown. 

With Oak, Golden— Use Brown, Tan, or Buff. 

With Oak, Light— Use Tans, Pale Yellow, Buff. 

With Oak, Red— Use Brown or Tan. 

With Red Cedar- Use Brown or Tan. 

With Walnut— Use Dull Red or Yellow. 

With White Enamel— Use Maroon, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 



HALL, WEST EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, Light 

Tans, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blue, Drab, Warm Gray, or 

Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 

39 



With Oak, Antique — Use Blue, Olive Green, Putty- 
Color, or French Gray. 

With Oak, Bog — Use Blues, Greens, Warm Grays, or 
Putty Colors. 

With Oak, Old English— Use Green, Old Blue, Putty 
Color, or Warm Gray. 

With Oak, Flemish— Use Green, Old Blue, Delft, or 
Putty Color. 

With Oak, Fumed — Use Empire Green, Old Blue, or 
Warm Gray. 

With Oak, Golden — Use Blue or Green. 

With Oak, Light — Use Blue or Green. 

With Oak, Red— Use Blue or Green. 

With Red Cedar — Use Blue or Green. 

With Walnut— Use Dull Greens or Dull Blues. 

With White Enamel — Use Blue, Green, or Gray. 

PARLOR AND LIVING ROOMS 

The colors used in these rooms express the owner's 
personality. The walls can be decorated solid all over, 
from baseboard to a moulding, and can be either a 
two-tone figured, striped or plain material. 

Where the two latter are used, if desired, they can 
be treated with a cut out border, or a small border can 
be stenciled below the picture moulding, following the 
moulding around the room ; or the walls may be paneled, 
using Gold or White Enameled Beading with Comers 
or Panel with Silk Gimp. 

PARLOR AND LIVING ROOM, NORTH EXPOSURE 

With Birch— Use Old Rose, Salmon, or Tan. 

With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff. Tan, Straw Color, or Pale 

Yellow. 



With Ebony — Use Red, Yellow, Golden Brown, of 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Pink, Old Rose, Orange, Brown, or 

Du Barry. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns ro Yellows. 
With Oak, Antique — Use Tan, Brown, or Pale Yellow. 
With Oak, Bog — Use Browns, Pale Yellow, or Lilac 

Color. 
With Oak, Old EngUsh— Use Browns, Dull Reds, or 

Yellows. 
With Oak, Flemish — Use Red, Yellow, Biunt Orange. 

or Golden Brown. 
With Oak, Fumed— Use Dull Red, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellows, or Buff. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Walnut— Use Dull Red or Yellow. 
With White Enamel— Use Maroons, Red, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 



PARLOR AND LIVING ROOM, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, Light 

Tans, or Putty Colors. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 

41 



With Mahogany — Use Dull Blues, Warm Gray, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Wann Grays, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Grays, or 

Putty Colors. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft Blue, 

or Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden— Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

PARLOR AND LIVING ROOM, EAST EXPOSURE 

With Birch — Use Old Rose, Salmon, Tan, Lavender, 

Pink, or Pale Yellow. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Pale Yellow, or Straw 

Color. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Pink, Old Rose, Orange, Brown, or 

Du Barry. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 

42 



With Mahogany and White — Use Browns, Pale Yel- 
lows, or Tan. 

With Oak, Antique — Use Brown, Tan, or Yellow. 

With Oak, Bog — Use Brown, Pale Yellow, or Lilac 
Color. 

With Oak, Old EngUsh— Use Brown, Dull Reds, or 
Yellow. 

With Oak, Flemish— Use Red, Yellow, Burnt Orange, 
or Golden Brown. 

With Oak, Fumed— Use Dull Red, Golden Yellow, Tan, 
or Brown. 

With Oak, Golden— Use Brown, Tan, or Buff. 

With Oak, Light— Use Tan, Pale Yellow, or Buffs. 

With Oak, Red— Use Brown or Tan. 

With Red Cedar- Use Brown or Tan. 

With Wahiut— Use Dull Red or Yellow. 

With White Enamel— Use Maroon, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 

PARLOR AND LIVING ROOM, WEST EXPOSURE 

With Birch — Use Blues, Greens, Tans, Warm Grays, 

Light Tans, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose Pink or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blue, Putty Color, Warm 

Gray, or Drab. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Green, Warm Gray, or 

Putty Color. 

43 



With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blue or Green. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Walnut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

THE DINING ROOM 

Necessity compels all the members of the family 
and visitors to congregate in this room together, and 
is the Family Assembly room, and should be treated 
in Cheerful Colors. 

There is no room in the home which affords the 
decorator a better chance to show his ability, owing 
to the many beautiful papers made which are suitable 
for this room, and these papers in themselves offer a 
hundred different suggestions in ways to decorate. 

Many of the old dining rooms offer the decorator 
an excellent chance for reconstructing; such as putting 
in beamed ceilings, plate shelves, paneling space 
below plate shelves with two-inch wooden strips 18 
to 24 inches apart, as the case may suggest, giving the 
room elegance and artistic stability. Much of the 
woodwork added in this way becomes a permanent 
part of the room, and the extra expenditure will never 
be regretted. 

Where a plate shelf is used some of the most suit- 
able materials to be used below the shelf are Lin- 
0-Wall, Lincrusta Walton, Japanese Leathers, or 
Burlaps; the two former are particularly good as they 
are practically indestructible. 

44 



DINING ROOM, NORTH EXPOSURE 

With Birch — Use Lavender, Old Rose, Salmon, or Tan 

Shades. 
With Birds-Eye Maple — Use Pink, Salmon, Lavender, 

Old Rose, Rose Pink, or Purple. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red,Yellow, Golden Brown, or Burnt 

Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Orange or Brown. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns or Yellows. 
With Oak, Antique — Use Tan, Brown, or Pale Yellow. 
With Oak, Bog — Use Browns, Pale Yellow, or Lilac 

Color. 
With Oak, Old EngUsh— Use Browns, Dull Reds, or 

Yellows. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown.' 
With Oak, Fumed— Use Dull Red, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellows, or Buffs. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Walnut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Reds, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 



DINING ROOM, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, or Putty 
Colors. 

45 



With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Old Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Gray, or 

Putty Color. 
With Oak, Old EngUsh— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar — Use Blue or Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

DINING ROOM, EAST EXPOSURE 

With Birch — Use Pale Yellow, Salmon, Old Rose, or 

Tans. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 

46 



With Georgia Pine — Use Cream, Light Tan, or BufE 

Shades. 
With Gray — Use Orange or Brown. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Brown or Yellows. 
With Mahogany and White — Use Brown, Pale Yellows, 

or Tan. 
With Oak, Antique — Use Brown, Tan, or Yellow. 
With Oak, Bog — Use Brown, Pale Yellow, or Lilac 

Color. 
With Oak, Old English— Use Brown, Dull Reds, or 

Yellow. 
With Oak, Flemish — Use Red, Yellows, Burnt Orange, 

or Golden Yellow. 
With Oak, Fumed— Use Dull Red, Golden Yellow, Tan, 

or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tan, Pale Yellow, or Buffs. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Wahiut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 



DINING ROOM, WEST EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, Light 

Tans, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Green or Pale Blues. 
With Gray — Use Old Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blue, Drab, Warm Gray, 

or Putty Color. 

47 



With Mahogany and White — Use Dull Blue, Warm 

Grays, Drab, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Green, Warm Gray, or 

Putty Color. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red — Use Blue or Green. 
With Red Cedar — Use Blue or Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

FOR LIBRARY OR STUDY 

The Decorator should remember that comfort 
should not be opposed by art. It is impossible that 
any one arrangement of theory of furnishing could be 
equally pleasing to all tastes, yet, there is a happy 
medium of correct environments which strikes a respon- 
sive chord in the minds of the majority. The surest 
guide to successful arrangement of this room is an acute 
sense of the "Fitness of things." These rooms while 
often decorated elaborately should be done in quiet, 
self-toned efifects, suggesting rest and ease. 

LIBRARY AND STUDY, NORTH EXPOSURE 

With Birch — Use Lavender, Old Rose, Salmon, or Tan 

Shades. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 

48 



With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Orange, Brown, or Old Rose. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns or Yellows. 
With Oak, Antique — Use Tan, Brown, or Pale Yellow. 
With Oak, Bog — Use Browns, Pale Yellow, or Lilac 

Color. 
With Oak, Old EngUsh— Use Browns, Dull Reds, or 

Yellows. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown. 
With Oak, Fumed— Use Dull Reds, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellows, or Buffs. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Wahiut— Use Dull Red or Yellow. 
With White Enamel— Use Maroons, Reds, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 

LIBRARY AND STUDY, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, or Putty 

Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose Pink or Lavender. 
With Ivory, Old — Use French Gray. 

49 



With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Grays, or 

Putty Color. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar — Use Blue or Green 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

LIBRARY AND STUDY, EAST EXPOSURE 

With Birch — Use Pale Yellow, Salmon, Old Rose, or 

Tans. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Orange, Brown, or Old Rose. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns, Pale Yellows, 

or Tan. 

50 



With Oak, Antique — Use Brown, Tan, or Yellow. 
With Oak, Bog — Use Brown, Pale Yellow, or Lilac 

Color. 
With Oak, Old English— Use Browns, Dull Red, or 

Yellows. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown. 
With Oak, Fumed— Use Dull Red, Golden Yellow, Tan, 

or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellow, or Buffs. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Walnut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 



LIBRARY AND STUDY, WEST EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, Light 

Tans, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, Delft Blue or 

Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose Pink or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Dull Blue, Drab, Warm Gray, or 

Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Grays, or Putty Color. 
With Oak, Antique— Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Gray, or 

Putty Color. 

51 



With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Walnut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

THE BILLIARD ROOM 

The treatment of this room should be somewhat 
masculine in character, and can be treated in plain or 
tooled leather, or Lin-0-Wall or Lincrusta Walton, 
preferably the two latter, as they contain much oil and 
are made of a combination of materials which makes 
them absolutely Water and Damp Proof, and are espe- 
cially recommended where the Billiard Room is situated 
in a part of the house which is apt to become damp, as 
the tables will warp and will be ruined; they must 
be perfectly level. 

BILLIARD ROOM, NORTH EXPOSURE 

With Birch — Use Lavender, Old Rose, Salmon, or Tan 

Shades. 
With Birds-eye Maple — Use Salmon, Rose Pink, Old 

Rose, Purple, Pink, or Lavender. 
With Cherry — Use Buffs, Straw Color, Tan, Dr Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, Burnt 

Orange, or Metal Grounds. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 

52 



With Gray — Use Orange or Brown. 

With Ivory, Old — Use Gold or Champagne Color. 

With Mahogany — Use Browns or Yellows. 

With Mahogany and White — Use Browns or Yellows. 

With Oak, Antique — Use Tan, Brown, Pale Yellow, or 
Metal Grounds. 

With Oak, Bog — Use Brown, Pale Yellow, or Lilac 
Color. 

With Oak, Old English— Use Browns, Dull Reds, Yel- 
low, or Metal Grounds. 

With Oak, Flemish — Use Red, Yellow, Burnt Orange, 
Golden Brown, or Metal Grounds. 

With Oak, Fumed— Use Dull Reds, Golden Yellow, 
Tan, Brown, or Metal Grounds. 

With Oak, Golden— Use Brown, Tan, or Buff. 

With Oak, Light— Use Tans, Pale Yellow, or Buffs. 

With Oak, Red— Use Brown or Tan. 

With Red Cedar — Use Brown or Tan. 

With Walnut— Use Dull Red or Yellow. 

With White Enamel— Use Maroons, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 

BILLIARD ROOM, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, or Putty 

Colors. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens cr Pale Blues. 
With Gray — Use Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Grays, Putty Color, or Dull Green. 

^5 



With Oak, Antique — Use Blue, Olive, Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Grays, or 

Putty Color. 
With Oak, Old English— Use Greens, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden — Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

BILLIARD ROOM, EAST EXPOSURE 

With Birch — Use Brown, Tan, Red, Bronze Papers, 
Light Yellow, Salmon, Lavender, Old Rose, or 
Leather Effects. 

With Birds-eye Maple — Use Pink, Salmon, Lavender, 
Purple, Old Rose, or Rose Pink. 

With Cherry— Use Buff, Tan, Straw Color, or Pale 
Yellow. 

With Ebony — Use Red, Yellow, Golden Brown, Burnt 
Orange, or Metal Grounds. 

With Georgia Pine — Use Cream, Light Tan, or Buff 
Shades. 

With Gray — Use Orange or Brown. 

With Ivory, Old — Use Gold or Champagne Color. 

With Mahogany — Use Browns or Yellows. 

With Mahogany and White — Use Browns, Pale Yel- 
lows, or Tan. 

With Oak, Antique — Use Brown, Tan, or Yellow. 

With Oak, Bog — Use Browns, Pale Yellow, or Lilac 
Color. 

54 



With Oak, Old English— Use Browns, Dull Reds, Yel- 
lows, or Metal Grounds. 

With Oak, Flemish — Use Red, Yellow, Burnt Orange, 
Golden Brown, or Metal Grounds. 

With Oak, Fumed— Use Dull Red, Golden Yellow, Tan, 
Brown, or Metal Grounds. 

With Oak, Golden— Use Brown, Tan, or Buff. 

With Oak, Light— Use Tans, Yellows, or Buffs. 

With Oak, Red— Use Brown or Tan. 

With Red Cedar — Use Brown or Tan. 

With Walnut— Use Dull Red or Yellow. 

With White Enamel— Use Maroon, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 

BILLIARD ROOM, WEST EXPOSURE 

With Birch — Use Blues, Green, Warai Grays, Light 

Tans, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose, Pink, or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blue, Drab, Wann Gray, 

or Putty Color, 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive, Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Green, Warm Grays, or 

Putty Color. 
With Oak, Old EngUsh— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft or 

Putty Color. 

55 



With Oak, Fumed — Use Empire Green, Old Blue, or 

"Warm Gray. 
With Oak, Golden— Use Blue or Green. 
With Oak, Light — Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar- Use Blue and Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray. 

THE DEN OR SMOKING ROOM 

The usual furnishings of this room suggest elabo- 
rate and sometimes extreme colors. Oriental Colors, 
Browns, Reds, Lincrusta Walton, Lin-0-Wall, or 
leather effects below Plate Shelf and Panel space under 
shelf with strips of wood, etc. 

DEN, NORTH EXPOSURE 

With Birch— Use Salmon, Rose Pink, Old Rose, Purple, 

Lavender, Tan, or Oriental Effects. 
With Birds-eye Maple — Use Salmon, Rose Pink, Old 

Rose, Purple, Pink, or Lavender. 
With Cherry — Use Buffs, Straw Colors, Tan, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, Burnt 

Orange, or Gold Papers. 
With Georgia Pine — Use Cream, Light, Tan or Buff 

Shades. 
With Gray — Use Orange or Brown. 
With Ivory, Old — Use Gold or Champagne Color. " 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns or Yellows. 
With Oak, Antique — Use Tan, Brown, or Pale Yellow. 
With Oak, Bog — Use Brown, Pale Yellow, Lilac Color, 

or Metal Grounds. 
With Oak, Old EngUsh— Use Browns, Dull Reds, Yel- 
lows, or Metal Grounds. 

5^ 



With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

Golden Brown, or Metal Grounds. 
With Oak, Fumed— Use Dull Reds, Golden Yellow, 

Tan, Brown, or Metal Grounds. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellow, or Buff. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar — Use Brown or Tan. 
With Walnut— Use Dull Reds or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 



DEN, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Warm Grays, or Putty 

Colors. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Rose Pink or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Grays, Putty Color, or Dull Green. 
With Oak, Antique — Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog — Use Blues, Greens, Warm Gray, or 

Putty Color. 
With Oak, Old EngUsh— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, or Putty 

Color. 
With Oak, Fumed— Use Green, Old Blue, Delft, or 

Putty Color. 

57 



With Oak, Golden — Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Light — Use Blue or Green. 
With Oak, Red — Use Blues or Greens. 
With Red Cedar — Use Blue or Green. 
With Walnut— Use Dull Greens or Dull Blues. 
With White Enamel — Use Blue, Green, or Gray, 



DEN, EAST EXPOSURE 

With Birch — Use Light Yellow, Lavender, Old Rose, 

or Salmon. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Orange or Brown. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns, Pale Yellows, 

or Tan. 
With Oak, Antique — Use Brown, Tan, or Yellow. 
With Oak, Bog — Use Browns, Pale Yellow, or Lilac 

Color. 
With Oak, Old English— Use Browns, Dull Reds, Yel- 
lows, or Metal Grounds. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

Golden Brown, or Metal Grounds. 
With Oak, Fumed— Use Dull Red, Golden Yellow, Tan, 

Brown, or Metal Grounds. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellows, or Buffs. 
With Oak, Red — Use Brown or Tan. 

58 



With Red Cedar— Use Brown or Tan. 
With Walnut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 



DEN, WEST EXPOSURE 

With Birch— Use Blues, Greens, Warm Grays, Light 

Tan, or Putty Colors. 
With Birds-eye Maple— Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine— Use Pale Greens or Pale Blues. 
With Gray — Use Rose Pink or Lavender. 
With Ivory, Old — Use French Gray. 
With Mahogany— Use Dull Blue, Warm Gray, Drab, 

or Putty Color. 
With Mahogany and White— Use Dull Blues, Drab, 

Warm Grays, Putty Color, or Dull Green. 
With Oak, Antique— Use Blue, Olive, Green, Putty 

Color, or French Gray. 
With Oak, Bog— Use Blues, Green, Warm Gray, or 

Putty Color. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Colors. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed— Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden— Use Blue or Green. 
With Oak, Light— Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Wahiut— Use Dull Greens or Dull Blues. 
With White Enamel— Use Blue, Green, or Gray. 

59 



THE BED ROOM 

This room maybe the Guest's room, the Family Bed 
Room, or the Child's Bed Room. 

If used as Guest's Chamber, it should be treated 
with much grace, and the Decorator should remember 
that this room may be assigned either to a Lady or a 
Gentleman, therefore care should be taken not to dec- 
orate in tones too feminine or masculine, but more on 
the majestic order, which will give the room the needed 
prominence. 

The balance of the Bed Rooms should be treated to 
suit the surrounding conditions, such as exposure, wood- 
work, amount of light, and whether it is used by chil- 
dren, a young lady, or young man, or the Family Bed 
Room. 

BED ROOM, NORTH EXPOSURE 

With Birch — Use Lavender, Pink, Old Rose, or Salmon. 
With Birds-eye Maple — Use Salmon, Old Rose, Rose 

Pink, Purple, Pink, or Lavender. 
With Cherry— Use Buffs, Straw Color, Tan, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Pink, Old Rose, Lavender, or Ashes 

of Roses. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns or Yellows. 
With Oak, Antique — Use Tan, Browns, or Pale Yellow. 
With Oak, Bog — Use Browns, Pale Yellow, or Lilac 

Color. 
With Oak, Old English— Use Browns, Dull Reds, or 

Yellows. 

60 



With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown. 
With Oak, Fumed— Use Dull Reds, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellow, or Buffs. 
With Oak, Red— Use Brown or Tan. 
With Red Cedar— Use Brown or Tan. 
With Wahiut— Use Dull Reds or Yellows. 
With White Enamel— Use Maroons, Red, Yellow, Old 

Rose, Pink, Lavender, Salmon, or Brown. 

BED ROOM, SOUTH EXPOSURE 

With Birch — Use Blues, Greens, Grays, White Back- 
ground Florals, or Putty Color. 
With Birds-eye Maple — Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine — Use Pale Greens or Pale Blues. 
With Gray — Use Pink, Old Rose, Lavender, Du Barry, 

Ashes of Roses, Florals with White Background. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Dull Blues, Warm Grays, Drab, 

or Putty Color. 
With Mahogany and White — Use Dull Blues, Drab, 

Warm Grays, Putty Color, or Dull Green. 
With Oak, Antique — Use Blues, Olive Green, French 

Gray, or Putty Color. 
With Oak, Bog — Use Greens, Blues, Warm Gray, or 

Putty Color. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Delft Blue, Green, Old Blue, 

or Putty Color. 
With Oak, Fumed — Use Empire Green, Old Blue, or 

Warm Gray. 

61 



With Oak, Golden — Use Blue or Green. 

With Oak, Light — Use Blues or Greens. 

With Oak, Red— Use Blue or Green. 

With Red Cedar — Use Blue or Green. 

With Wahiut— Use Dull Greens or Dull Blues. 

With White Enamel — Use Blue, Green, or Gray. 



BED ROOM, EAST EXPOSURE 

With Birch — Use Lavender, Pink, Old Rose, Salmon, 

Purple, or Pale Yellow. 
With Birds-eye Maple — Use Pink, Salmon, Lavender, 

Purple, Old Rose, or Rose Pink. 
With Cherry— Use Buff, Tan, Straw Color, or Pale 

Yellow. 
With Ebony — Use Red, Yellow, Golden Brown, or 

Burnt Orange. 
With Georgia Pine — Use Cream, Light Tan, or Buff 

Shades. 
With Gray — Use Pink, Old Rose, Lavender, Du Barry, 

or Ashes of Roses. 
With Ivory, Old — Use Gold or Champagne Color. 
With Mahogany — Use Browns or Yellows. 
With Mahogany and White — Use Browns, Pale Yel- 
lows, or Tan. 
With Oak, Antique — Use Brown, Tan, or Yellow. 
With Oak, Bog — Use Brown, Pale Yellow, or Lilac 

Color. 
With Oak, Old EngUsh— Use Browns, Dull Reds, or 

Yellows. 
With Oak, Flemish — Use Red, Yellow, Burnt Orange, 

or Golden Brown. 
With Oak, Fumed— Use Dull Red, Golden Yellow, 

Tan, or Brown. 
With Oak, Golden— Use Brown, Tan, or Buff. 
With Oak, Light— Use Tans, Pale Yellows, or Buffs. 
With Oak, Red— Use Brown or Tan. 

62 



With Red Cedar — Use Brown or Tan. 
With Wahiut— Use Dull Red or Yellow. 
With White Enamel— Use Maroon, Red, Yellow, Old 
Rose, Pink, Lavender, Salmon, or Brown. 

BED ROOM, WEST EXPOSURE 

With Birch— Use Blues, Greens, Grays, Putty Colors, 

or White Background Florals. 
With Birds-eye Maple— Use Robin's Egg Blue, Nile 

Green, or Gray. 
With Cherry — Use Blues, Soft Greens, or Warm Grays. 
With Ebony— Use Steel Blue, Old Blue, or Green. 
With Georgia Pine— Use Pale Greens or Pale Blues. 
With Gray— Use Rose Pink, Lavender, or Floral Papers 

with White Background. 
With Ivory, Old— Use French Gray. 
With Mahogany— Use Dull Blue, Warm Gray, Drab, 

or Putty Color. 
With Mahogany and White— Use Dull Blues, Drab, 

Warm Gray, Putty Color, or Green. 
With Oak, Antique— Use Blue, Olive Green, Putty 

Color, or French Gray. 
With Oak, Bog— Use Blues, Greens, Warm Grays, or 

Putty Color. 
With Oak, Old English— Use Green, Old Blue, Warm 

Gray, or Putty Color. 
With Oak, Flemish— Use Green, Old Blue, Delft, or 

Putty Color. 
With Oak, Fumed— Use Empire Green, Old Blue, or 

Warm Gray. 
With Oak, Golden— Use Blue or Green. 
With Oak, Light— Use Blues or Greens. 
With Oak, Red— Use Blue or Green. 
With Red Cedar— Use Blue or Green. 
With Wakiut— Use Dull Greens or Dull Blues. 
With White Enamel— Use Blue, Green, or Gray. 

63 



HOW TO HANG PAPER, ETC. 
PASTE 

How to Make — 

Mix one quart of good Rye or Wheat Flour with 
Water. Dissolve all lumps ; add one tablespoon- 
ful of Powdered Alum, then thin with Cold Water 
so that the consistency is somewhat thinner than 
dough; pour on boiling water; stir repeatedly until 
Flour is thoroughly cooked; allow to cool, and thin 
with cold water to proper consistency. 

Paste Made of Com Starch — 

Is very good to hang paper with. One package 
will make a full pail of paste. 

Paste for Lincrusta Walton or Lin-0-Wall — 

Five pounds good Winter Wheat Flour, pour in 
luke warm water, and make a batter to a consist- 
ency which will run off a stick, then add ten cents' 
worth of Venetian Turpentine, then Scald, stir- 
ring entire contents with a stick until same gets 
thick. 

Pasting Lincrusta Walton or Lin-0-Wall — 

Apply paste thick, same as in hanging Pressed 
Papers. Paste a strip, and lay to one side, then 
paste another strip; allow first one to soak until 
second one is pasted; lay second one aside, then take 
first strip and paste once more, then hang on wall. 

Paste — 

If paste contains about five drops of Oil of Cinna- 
mon, Oil of Sassafras or Anise Oil, it will overcome 
any unpleasant odor coming from the paste or the 
wall paper in which the glue has become sour. 

64 



PASTE FOR LINCRUSTA WALTON 
OR LIN-0-WALL 

Damp Proof — 

To be used for hanging on Wood or Plaster, espe- 
cially where it is applied outside and exposed to 
the weather, for Vestibules, etc. When making 
Flour Paste and it is still hot, put in the usual 
amount of glue, and then add one pint of raw 
or boiled Linseed Oil. When cool, it is ready to 
use. 

How to Hang — 

Strip of paper should be so pasted that no one part 
soaks and stretches more than another. A good 
method is to first paste half of strip from center 
out to end, and second half from end to center, 
and reverse operation every strip. Some paper 
will stretch 34 of an inch or more at one end, while 
the other end is being pasted; but the foregoing 
operation equalizes the tension. 

When plain goods shade at edges, reverse every 
other strip so as to bring the two lightest edges 
together, and the two that are dark together. This 
method should always be followed when hanging 
burlaps, or plain papers, or papers which have 
ground in imitation of Cloth and are nearly plain 
in effect, such as Chambray, Jaspe, or^ Denim 
effects. Sometimes shading can be avoided by 
trimming edges in about one inch. 

To match figure of paper in hanging, always hang 
to pin marks on the margin. 

Brown Blanks — ^How to Hang — 

Use Stiff Paste, do not allow paper to soak too 
long before hanging. 

65 



Bronze Papers — 

Use medium thick paste, apply to about three 
strips, and hang in the order they were pasted. 

Fabric, All Cloth or Woven Effects- 
Like the materials which they are made to repre- 
sent, are made to show a seam; this is not a defect, 
b'lt merely carries out the effect which two pieces 
of the Fabric would produce when put together. 
Always explain this to your customer at the time 
you are showing the paper, and your customer will 
not be disappointed. 

Fabrics, etc. 

Do not lap seams; if dark colors, stain the edges 
before hanging. This is done by moistening the 
color on the margin trimmed off, rub with the 
finger or small brush along edge of paper, or color 
the wall first where seam will come. 

Flock Papers — 

Line Walls, Color edges of paper and use roller. 
Never use a brush for smoothing, as brush will 
loosen Flock. 

Ingrains — 

Trim in three-quarters of an inch to one inch with 
a sharp knife, and butt well. 

Oil Cloth or Sanitas— 

Paste same as wall paper, rub down smooth with 
cloth. 

SANITAS— To Hang on New Walls- 
Give walls two coats of glue size or a coat of ordi- 
nary priming paint ; the latter neutralizes the lime. 
If you use the priming paint let it dry for about 



twenty-four hours or the paint will not let the paste 
dry, and always size over the paint with glue size 
before hanging any materials. 

Pressed and Embossed Papers — 

Line Walls, use thick Paste. Do not use a roller 

or it will take out relief, use stiff brush or cloth to 
smooth down. 

Silk Damask or Glimmers — 

Avoid Alum or other Chemicals in paste; always 
line walls or they are liable to stain. 

Stained Grounds — 

Always prepare walls, line; use good Flour Paste, 
must not contain Alum or other Chemicals, not too 
thin ; hang each strip as soon as possible after past- 
ing, stain edges, avoid using roller on seams if pos- 
sible. 

White Blanks- 
Use medium stiff paste and paste three or four 
strips, and hang in the order in which they are 
pasted. 



Don't Forget- 
That proper ventilation, heat and light are essen- 
tial to good work. 

l^Iost papers, such as reds, deep greens and papers 
containing delicate colors will discolors if allowed 
to remain wet too long. 



THE END 



67 



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